Created on site with foraged plant material (oak galls) for ink, monoprints made during this three month self-directed studio residency are currently being finished for a body of world titled, work of wind, work of water. More information and details of the project can be found here
. This project will continue when I revisit the site next year of an ongoing eco-printing experiment at the site.
igneous monoprint, mixed media on paper, 7 x 11 inches
Detail, installation, peaks & valleys , accordion notebook, ink, 2018
Coinciding with the winter solstice, when at the darkest moment of the year we are also on the cusp of renewed light and hope, MY TOWNSPEOPLE! was an interactive installation that created a contemplative space exploring memory, mortality, and our shared experience of impermanence.
my townspeople!, mixed media on canvas, 124 x 260 inches
Detail, My Townspeople, Back Gallery, Hudson, NY 21 DEC 2017
Project for Woodland, 2011 - 2013, used time-lapse videos to capture footage from a half a dozen sites in a mixed deciduous forest in the Taconic Mountains, New York.
During a two year photography project, automatic trail cameras captured over two million still-photographs had been collected and the first suite of video work from this archive can be seen here (media link #1), called ‘Forest6’, after the site featured.
The archive remains open for further consideration and future projects.
Trails are to be followed - but are they to be trusted?
Circumnavigating the ringed gallery space, HERE invokes the fairy tale of Hanzel and Gretel, who banished to the woods employ a trail of bread crumbs in order to find their way back. Eaten by birds, the trail disappears and the predicament becomes uncertain.
Beginning with this reference, HERE becomes both a guide and requiem for the visitor's experience. A constant companion, the trail waxes and wanes in volume but never disappears entirely.
Exhibition detail, Project for Paper, Oxygen Art Center, Nelson, Canada 2009
MARK: began as an installation of canvas-wrapped trees which invited the viewer to trace the changes in the ecological structure of a woodland in Massachusetts. Inside each band of canvas around the trees, a silhouette of rare or extinct birds was printed (in walnut ink) while on the outside, visible to the viewer, was printed the year that particular bird was last seen in the area. A legend at the end of the installation exposed the absence of the hidden birds, and tacitly asked the viewer to reconsider their experience of the woodland in light of this new information (about the birds). At the end of the year-long installation, the canvas were removed from their own ontological realm of ‘experiencing’ the woodland, becoming epistemological artifacts of the installation.
Project for Calendar Studies (2006 -2008) used large canvas to record the rise and fall of tidal movements in an industrial canal in Brooklyn, New York; spray-painted, drawn, stenciled on the canvas beforehand, scientific notations, symbols, & signs used to mark the passage of time directed the viewer toward tensions between our collected knowledge about time and our personal experience of it (viz a viz marks left on the canvas). Canvases were placed and rotated out of the canal seasonally (ever three months) for almost two years before being returned to an open-air rooftop studio where they were cleaned and sealed, becoming records of both their own experience in the canal as well as testaments to the collected knowledge contained within them.
by Deborah Loxam-Kohl